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Design for Today and Tomorrow.

The textbook prepares students to design web pages that work today in addition to being ready to take
advantage of new HTML5 coding techniques of the future.

Well-Rounded Selection of Topics.

This text includes both “hard” skills such as HTML5 and Cascading Style Sheets (Chapters 1–2 and
4–11) and “soft” skills such as web design (Chapter 3) and publishing to the Web (Chapter 12). This
well-rounded foundation will help students as they pursue careers as web professionals. Students and
instructors will find classes more interesting because they can discuss, integrate, and apply both hard
and soft skills as students create web pages and websites. The topics in each chapter are introduced on
concise two-page sections that are intended to provide quick overviews and timely practice with the
topic.

Two-Page Topic Sections.

Most topics are introduced in a concise, two-page section. Many sections also include immediate hands-
on practice of the new skill or concept. This approach is intended to appeal to your busy students—
especially the millennial multitaskers—who need to drill down to the important concepts right away.

Hands-On Practice.

Web design is a skill, and skills are best learned by hands-on practice. This text emphasizes hands-on
practice through practice exercises within the chapters, end-of-chapter exercises, and the development
of a website through ongoing real-world case studies. The variety of exercises provides instructors with
a choice of assignments for a particular course or semester.

Website Case Study.

There are case studies that continue throughout most of the text (beginning at Chapter 2). The case
studies serve to reinforce skills discussed in each chapter. Sample solutions to the case study exercises
are available on the Instructor Resource Center at http://www.pearsonhighered.com/irc.

Focus on Web Design.

Every chapter offers an additional activity that explores web design topics related to the chapter. These
activities can be used to reinforce, extend, and enhance the course topics.
 FAQs.

In her web design courses, the author is frequently asked similar questions by students. They are
included in the book and are marked with the identifying FAQ icon.

Focus on Accessibility.

Developing accessible websites is more important than ever, and this text is infused with accessibility
techniques throughout. The special icon shown here makes accessibility information easy to find.

Focus on Ethics.

Ethics issues as related to web development are highlighted throughout the text with the special ethics
icon shown here.

Quick Tips.

Quick tips, which provide useful background information, or help with productivity, are indicated with this
Quick Tip icon.

Explore Further.

The special icon identifies enrichment topics along with web resources useful for delving deeper into a
concept introduced in book.

Reference Materials.

The appendices offer reference material, including an HTML5 reference, a Cascading Style Sheets
reference, a comparison of HTML5 and XHTML, a WCAG 2.0 Quick Reference, an overview of ARIA
Landmark Roles, and a brief introduction to CSS Flexible Box Layout (Flexbox).

VideoNotes.
VideoNotes are Pearson’s new visual tool designed for teaching students key programming concepts
and techniques. These short step-by-step videos demonstrate how to solve problems from design
through coding. VideoNotes allow for self-placed instruction with easy navigation including the ability to
select, play, rewind, fast-forward, and stop within each VideoNote exercise. Margin icons in your
textbook let you know when a VideoNote video is available for a particular concept or hands-on practice.

Supplemental Materials

Student Resources.

Student files for the case studies and the web page hands-on practice exercises, and access to the
book’s VideoNotes are available to all readers of this book at its companion website
www.pearsonhighered.com/cs-resources. A complimentary access code for the companion website
is available with a new copy of this book. Subscriptions may also be purchased online.

Instructor Resources.

The following supplements are available to qualified instructors only. Visit the Pearson Instructor
Resource Center (http://www.pearsonhighered.com/irc) for information on how to access them:

Solutions to the end-of-chapter exercises

Solutions for the case study assignments
Test questions
PowerPoint® presentations
Sample syllabi

Author’s Website.

In addition to the publisher’s companion website for this book, the author maintains a website at http://
www.webdevbasics.net. This website contains additional resources, including a color chart,
learning/review games, and a page for each chapter with examples, links, and updates. This website is
not supported by the publisher.

Acknowledgments

Very special thanks go to the people at Pearson, including Matt Goldstein, Kristy Alaura, and Erin Ault.
A special thank you also goes to Enrique D’Amico at Harper College for taking time to provide additional
feedback and sharing student comments about the book.

Most of all, I would like to thank my family for their patience and encouragement. My wonderful
husband, Greg Morris, has been a constant source of love, understanding, support, and
encouragement. Thank you, Greg! A big shout-out to my children, James and Karen, who grew up
thinking that everyone’s Mom had their own website. Thank you both for your understanding, patience,
and timely suggestions. Finally, a very special dedication to the memory of my father who will be greatly
missed.

About the Author

Dr. Terry Ann Felke-Morris is a Professor Emerita at Harper College in Palatine, Illinois. She holds a
Doctor of Education degree, a Master of Science degree in information systems, and numerous
certifications, including Adobe Certified Dreamweaver 8 Developer, WOW Certified Associate
Webmaster, Microsoft Certified Professional, Master CIW Designer, and CIW Certified Instructor.

Dr. Felke-Morris received the Blackboard Greenhouse Exemplary Online Course Award in 2006 for use
of Internet technology in the academic environment. She is the recipient of two international awards: the
Instructional Technology Council’s Outstanding e-Learning Faculty Award for Excellence and the
MERLOT Award for Exemplary Online Learning Resources—MERLOT Business Classics.

With more than 25 years of information technology experience in business and industry, Dr. Felke-
Morris published her first website in 1996 and has been working with the Web ever since. A long-time
promoter of web standards, she was a member of the Web Standards Project Education Task Force. Dr.
Felke-Morris is the author of the popular textbook Web Development and Design Foundations with
HTML5, currently in its eighth edition. She was instrumental in developing the Web Development degree
and certificate programs at Harper College. For more information about Dr. Terry Ann Felke-Morris, visit
http://terrymorris.net.
CONTENTS

Cover

Half Title

Title Page

Copyright

Preface

VideoNotes

CHAPTER 1 Internet and Web Basics 1

The Internet and the Web 2

Web Standards and Accessibility 4

Web Browsers and Web Servers 6

Internet Protocols 8

Uniform Resource Identifiers and Domain Names 10

Information on the Web 14

HTML Overview 16

Under the Hood of a Web Page 18

Your First Web Page 20

Review and Apply 24

CHAPTER 2 HTML Basics 27

Heading Element 28

Paragraph Element 30

Line Break and Horizontal Rule 32

Blockquote Element 34

Phrase Elements 36

Ordered List 38

Unordered List 40
 Description List 42

Special Entity Characters 44

HTML Syntax Validation 46

Structural Elements 48

Practice with Structural Elements 50

Anchor Element 52

Practice with Hyperlinks 54

E-Mail Hyperlinks 58

Review and Apply 60

CHAPTER 3 Web Design Basics 69

Your Target Audience 70

Website Organization 72

Principles of Visual Design 74

Design to Provide for Accessibility 76

Use of Text 78

Web Color Palette 80

Design for Your Target Audience 82

Choosing a Color Scheme 84

Use of Graphics and Multimedia 88

More Design Considerations 90

Navigation Design 92

Wireframes and Page Layout 94

Fixed and Fluid Layouts 96

Design for the Mobile Web 98

Responsive Web Design 100

Web Design Best Practices Checklist 102

Review and Apply 104

CHAPTER 4 Cascading Style Sheets Basics 109

Cascading Style Sheets Overview 110

CSS Selectors and Declarations 112

CSS Syntax for Color Values 114

 Configure Inline CSS 116

Configure Embedded CSS 118

Configure External CSS 120

CSS Selectors: Class, Id, and Descendant 122

Span Element 124

Practice with CSS 126

The Cascade 128

Practice with the Cascade 130

CSS Syntax Validation 132

Review and Apply 134

CHAPTER 5 Graphics & Text Styling Basics 141

Web Graphics 142

Image Element 144

Image Hyperlinks 146

Configure Background Images 148

Position Background Images 150

CSS3 Multiple Background Images 152

Fonts with CSS 154

CSS Text Properties 156

Practice with Graphics and Text 158

Configure List Markers with CSS 160

The Favorites Icon 162

Image Maps 164

Review and Apply 166

CHAPTER 6 More CSS Basics 175

Width and Height with CSS 176

The Box Model 178

Margin and Padding with CSS 180

Borders with CSS 182

CSS3 Rounded Corners 184

Center Page Content with CSS 186

 CSS3 Box Shadow and Text Shadow 188

CSS3 Background Clip and Origin 190

CSS3 Background Resize and Scale 192

Practice with CSS3 Properties 194

CSS3 Opacity 196

CSS3 RGBA Color 198

CSS3 HSLA Color 200

CSS3 Gradients 202

Review and Apply 204

CHAPTER 7 Page Layout Basics 213

Normal Flow 214

Float 216

Clear a Float 218

Overflow 220

CSS Box Sizing 222

Basic Two-Column Layout 224

Vertical Navigation with an Unordered List 228

Horizontal Navigation with an Unordered List 230

CSS Interactivity with Pseudo-Classes 232

Practice with CSS Two-Column Layout 234

Positioning with CSS 236

Practice with Positioning 238

CSS Sprites 240

Review and Apply 242

CHAPTER 8 More on Links, Layout, and Mobile 247

More on Relative Linking 248

Fragment Identifiers 250

Figure and Figcaption Elements 252

Practice with Floating Figures 254

More HTML5 Elements 256

 HTML5 Compatibility with Older Browsers 258

CSS for Print 260

Mobile Web Design 262

Viewport Meta Tag 264

CSS3 Media Queries 266

Practice with Media Queries 268

Flexible Images with CSS 272

Picture Element 274

Responsive Img Element Attributes 276

Testing Mobile Display 278

Review and Apply 280

CHAPTER 9 Table Basics 291

Table Overview 292

Table Rows, Cells, and Headers 294

Span Rows and Columns 296

Configure an Accessible Table 298

Style a Table with CSS 300

CSS3 Structural Pseudo-classes 302

Configure Table Sections 304

Review and Apply 306

CHAPTER 10 Form Basics 311

Form Overview 312

Text Box 314

Submit Button and Reset Button 316

Check Box and Radio Button 318

Hidden Field and Password Box 320

Textarea Element 322

Select Element and Option Element 324

Label Element 326

Fieldset Element and Legend Element 328

Style a Form with CSS 330

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 Server-Side Processing 332

Practice with a Form 334

HTML5 Text Form Controls 336

HTML5 Datalist Element 338

HTML5 Slider and Spinner Controls 340

HTML5 Calendar and Color-Well Controls 342

Practice with an HTML5 Form 344

Review and Apply 346

CHAPTER 11 Media and Interactivity Basics 355

Plug-ins, Containers, and Codecs 356

Configure Audio and Video 358

Flash and the HTML5 Embed Element 360

HTML5 Audio and Source Elements 362

HTML5 Video and Source Elements 364

Practice with HTML5 Video 366

Iframe Element 368

CSS3 Transform Property 370

CSS Transition Property 372

Practice with Transitions 374

CSS Drop Down Menu 376

HTML5 Details and Summary Elements 378

JavaScript & jQuery 380

HTML5 APIs 382

Review and Apply 384

CHAPTER 12 Web Publishing Basics 391

Register a Domain Name 392

Choose a Web Host 394

Publish with File Transfer Protocol 396

Search Engine Submission 398

Search Engine Optimization 400

Accessibility Testing 402

 Usability Testing 404

Review and Apply 406

Appendix
Answers to Review Questions 409

HTML5 Cheat Sheet 410

CSS Cheat Sheet 415

Comparison of XHTML and HTML5 422

WCAG 2.0 Quick Reference 428

Landmark Roles with ARIA 430

CSS Flexible Box Layout 432

Index 439

Credits 455

Web Safe Color Palette 457

VideoNotes

Locations of VideoNotes

www.pearsonhighered.com/cs-resources

1. CHAPTER 1 Internet and Web Basics

Evolution of the Web 3
Your First Web Page 20

2. CHAPTER 2 HTML Basics

HTML Validation 46

3. CHAPTER 3 Web Design Basics

Principles of Visual Design 74

4. CHAPTER 4 Cascading Style Sheets Basics

External Style Sheets 120
CSS Validation 132

5. CHAPTER 5 Graphics & Text Styling Basics

Background Images 150

6. CHAPTER 6 More CSS Basics

CSS Rounded Corners 184

7. CHAPTER 7 Page Layout Basics

Interactivity with CSS Pseudo-Classes 232
 8. CHAPTER 8 More on Links, Layout, and Mobile
Linking to a Named Fragment 250

9. CHAPTER 9 Table Basics

Configure a Table 294

10. CHAPTER 10 Form Basics

Connect a Form to Server-side Processing 332

11. CHAPTER 11 Media and Interactivity Basics

HTML5 Video 364
Configure an Inline Frame 369

12. CHAPTER 12 Web Publishing Basics

Choosing a Domain Name 392
Chapter 1 Internet and Web Basics

The Internet and the Web are parts of our daily lives. How did they begin? What
networking protocols and programming languages work behind the scenes to
display a web page? This chapter provides an introduction to some of these topics
and is a foundation for the information that web developers need to know. This
chapter also gets you started with your very first web page. You’ll be introduced to
Hypertext Markup Language (HTML), the language used to create web pages.

You’ll learn how to...

Describe the evolution of the Internet and the Web

Explain the need for web standards
Describe universal design
Identify benefits of accessible web design
Identify reliable resources of information on the Web
Identify ethical uses of the Web
Describe the purpose of web browsers and web servers
Identify Internet protocols
Define URIs and domain names
Describe HTML, XHTML, and HTML5
Create your first web page
Use the body, head, title, and meta elements
Name, save, and test a web page
Chapter 2 HTML Basics

In the previous chapter, you created your first web page using HTML5. You
coded a web page and tested it in a browser. You used a Document Type Definition
to identify the version of HTML being used along with the <html> , <head> ,
<title> , <meta> , and <body> tags. In this chapter, you will continue your
study of HTML and configure the structure and formatting of text on a web page
using HTML elements, including the new HTML5 header, nav, and footer elements.
You’re also ready to explore hyperlinks, which make the World Wide Web into a web
of interconnected information. In this chapter, you will configure the anchor element
to connect web pages to each other with hyperlinks. As you read this chapter, be
sure to work through the examples. Coding a web page is a skill, and every skill
improves with practice.

You’ll learn how to...

Configure the body of a web page with headings, paragraphs, divs, lists, and blockquotes
Configure special entity characters, line breaks, and horizontal rules
Configure text with phrase elements
Test a web page for valid syntax
Configure a web page using new HTML5 header, nav, main, and footer elements
Use the anchor element to link from page to page
Configure absolute, relative, and e-mail hyperlinks
The Internet and the Web

The Internet

The Internet, the interconnected network of computer networks, seems to be everywhere today. You
can’t watch television or listen to the radio without being urged to visit a website. Even newspapers and
magazines have their place on the Internet. It is possible that you may be reading an electronic copy of
this book that you downloaded over the Internet. With the increased use of mobile devices such as
tablets and smartphones, being connected to the Internet has become part of our daily lives.

The Birth of the Internet

The Internet began as a network to connect computers at research facilities and universities. Messages
in this network would travel to their destinations by multiple routes or paths, allowing the network to
function even if parts of it were broken or destroyed. The message would be rerouted through a
functioning portion of the network while traveling to its destination. This network was developed by the
Advanced Research Projects Agency (ARPA)—and the ARPAnet was born. Four computers (located at
UCLA, Stanford Research Institute, University of California Santa Barbara, and the University of Utah)
were connected by the end of 1969.

Growth of the Internet

As time went on, other networks, such as the National Science Foundation’s NSFnet, were created and
connected with the ARPAnet. Use of this interconnected network, or Internet, was originally limited to
government, research, and educational purposes. The ban on commercial use of the Internet was lifted
in 1991.

The growth of the Internet continues—Internet World Stats (http://www.internetworldstats .com/

stats.htm) reported that over 3.6 billion users, about 49% of the world’s population, were using the
Internet by 2016.

When the restriction on commercial use of the Internet was lifted, the stage was set for future electronic
commerce: businesses were now welcome on the Internet. However, while businesses were no longer
banned, the Internet was still text based and not easy to use. The next developments addressed this
issue.

The Birth of the Web

VideoNote

Evolution of the Web

While working at CERN, a research facility in Switzerland, Tim Berners-Lee envisioned a means of
communication for scientists by which they could easily “hyperlink” to another research paper or article
and immediately view it. Berners-Lee created the World Wide Web to fulfill this need. In 1991, Berners-
Lee posted the code in a newsgroup and made it freely available. This version of the World Wide Web
used Hypertext Transfer Protocol (HTTP) to communicate between the client computer and the web
server, and it was text based, employing Hypertext Markup Language (HTML) to format the
documents.

The First Graphical Browser

In 1993, Mosaic, the first graphical web browser, became available. Marc Andreessen and graduate
students working at the National Center for Supercomputing Applications (NCSA) at the University of
Illinois Urbana-Champaign developed Mosaic. Some individuals in this group later created another well-
known web browser, Netscape Navigator, which is an ancestor of today’s Mozilla Firefox browser.

Convergence of Technologies

By the early 1990s, personal computers with easy-to-use graphical operating systems (such as
Microsoft’s Windows, IBM’s OS/2, and Apple’s Macintosh OS) were increasingly available and
affordable. Online service providers such as CompuServe, AOL, and Prodigy offered low-cost
connections to the Internet. Figure 1.1 depicts this convergence of available computer hardware, easy-
to-use operating systems, low-cost Internet connectivity, the HTTP protocol and HTML language, and a
graphical browser that made information on the Internet much easier to access. The World Wide
Web—the graphical user interface providing access to information stored on web servers connected to
the Internet—had arrived!

FIGURE 1.1
Convergence of technologies.
Other documents randomly have
different content
 vigorous verses. One competitor, for instance, treating Jingo as
a personality, says:—

'No well-bunged beer-cask confined his breast,

Nor in cerement white we bound him;
But he lay 'neath a water-butt, taking his rest,
With a pool of that liquid around him.'

Another winds up thus:—

'Smiling and gladly we toppled him down,

That image of humbug so gory;
We wrote but one line—'Here, under this stone,
Lies bombast, false glitter, and glory.'

And a third is particularly energetic in his speculations as to the

behaviour of the Premier on hearing of the defeat of his policy:—

'He thought, as he holloa'd aloud in bed,

And pommelled his lonely pillow,
He was pitching away into Gladstone's head;
And his fury was like the billow.'"

THE BURIAL OF THE MASHER.

"Mr. Burnand's good-natured but well-directed chaff in 'Blue Beard,'
at the Gaiety, may be said to have ridiculed that curious product of
modern civilisation, the Masher, out of existence. His continued life
now seems to be impossible."—Daily Paper.
NOT a laugh was heard, not a cheery sound,
As the song to an encore was hurried;
Not a man in the stalls to cheer was found,
On the night that the Masher was buried.

He'd come before to a parlous pass,

Sore stricken by TRUTH'S endeavour;
But "Blue Beard" gave him his coup de grâce.
And finished him once for ever!

It killed and buried him sitting there,

By ridicule on him turning;
'Neath the shifting lime-light's brilliant glare,
With the footlights brightly burning.

His wired gardenia graced his breast,

And sodden in scent one found him,
As he sat there sucking his stick with zest,
With his three-inch collar around him.

A deep red groove in his puffy throat,

That collar's starched edge was flaying;
And the bow trimmed pumps, on which youths now dote,
Were the clocks of his hose displaying.

Pearl-headed pins kept his tie in place.

And his shirt front's wealth of whiteness
Made yet more sallow his pasty face,
More dazzling his chest-stud's brightness.

No thought worth thinking was in his breast,

Nor on his dull brain was flashing,
But he sat encased in his board-like vest,
Equipped for the evening's mashing.

But few and short were the leers he gave

At th h il i i b f hi
 At the chorus-girls singing before him;
For cold and swift as an ocean wave,
The chaff of Burnand swept o'er him.

And vainly he turn'd, sore at heart and sick,

Some hope from the "Johnnies" to borrow;
For they steadfastly sucked every one his stick,
And most bitterly thought of the morrow.

They thought, as the dramatist chaffed them to death,

And foreshadowed their doom so plainly,
That they next morning, with feverish breath,
Might demand devilled prawns all vainly;

That their faith in the curried egg might go,

And a cayenne salad not serve them,
Nor champagne cheer when their "tone" was low,
Nor a fricassee'd oyster nerve them!

They felt that the power to attention gain

Would surely henceforth evade them,
And that public contempt would let them remain
In the grave where a "Blue Beard" had laid them.

And so, when Burnand his task had done,

And received a right warm ovation,
Of all the Mashers was left not one;
'Twas complete annihilation.

And they buried them there, where they first were born,
With gardenias on them clustered—
In the mashing garbs that they long had worn—
Near the stalls where they'd nightly mustered.

Blithely and gaily they laid them down,

Nor heard was a sob nor a sigh there;
And they carved not a line and they raised not a stone—
For the Mashers were worthy of neither!
 For the Mashers were worthy of neither!

Truth, March 22, 1883.

NEVER JOHN MOORE; OR, THE REJECTED

SUITOR.
(An old story by an Old Bachelor.)
(With sincere apologies to the Rev. Charles Wolfe—for the sheep's
clothing.)
 I.
He felt highly absurd, as he put on his coat,
And, of course, exceedingly worried;
He swore he'd never return to the spot,
As out of the front door he scurried.

II.
He tried to banish her face from his sight,
She for whom he was yearning;
Hadn't Fred said, he knew he was right,
And that she was fond of spurning.

III.
But who'd have thought—ah, even guessed—
That after she had caught and bound him;
It was to be but a flirting jest.
An impartial joke to sound him.

IV.
Few and short were the words he had said,
Only this—only this, "love be mine."
She gave him a rap with her fan on his head,
And laughingly left him to pine

V.
What was he to do? should he hate her instead?
Or weeping wail, waly willow;
Or wiping away the tears he had shed,
Launch in some fresh peccadillo?
 p

VI.
Lightly they'd talked in the days that were gone,
In arbours and in kitchen gardens;
Only to find his poor heart torn
By devotion, which her hard heart hardens.

VII.

L'ENVOI.
The moral of this I hope you won't shun,
Don't be in your mind too enquiring,
Don't fall in love, or as sure as a gun,
You're not cared for by her you're admiring.

VIII.
Talk to them civilly and leave them alone,
And this is the end of my story.
And as I don't mean to alter my tone,
I drink to all flirts "con amore."

From Cribblings from the Poets (Jones & Piggott), Cambridge,

1883.

A FUNERAL AFTER SIR JOHN MOORE'S,

FURNISHED BY AN UNDERTAKER.
NOT a mute one word at the funeral spoke
Till away to the pot-house we hurried,
Not a bearer discharged his ribald joke
O'er the grave where our "party" we buried.

We buried him dearly with vain display,

Two hundred per cent. returning,
Which we made the struggling orphans pay,
All consideration spurning.

With plumes of feathers his hearse was drest,

Pall and hatbands and scarfs we found him;
And he went, as a Christian, unto his rest,
With his empty pomp around him.

None at all were the prayers we said,

And we felt not the slightest sorrow,
But we thought, as the rites were perform'd o'er the dead,
Of the bill we'd run up on the morrow.

We thought as he sunk to his lowly bed

That we wish'd they'd cut it shorter.
So that we might be off to the Saracen's Head,
For our gin, and our pipes, and our porter.

Lightly we speak of the "party" that's gone,

Now all due respect has been paid him;
Ah! little he reck'd of the lark that went on
Near the spot where we fellows had laid him.

As soon as our sable task was done,

Nor a moment we lost in retiring;
And we feasted and frolick'd, and poked our fun,
Gin and water each jolly soul firing,

Blithely and quickly we quaff'd it down,

Si i ki j k t lli t
 Singing song, cracking joke, telling story;
And we shouted and laughed all the way up to Town,
Riding outside the hearse in our glory.

Punch, January 5, 1850.

At the time when the above parody appeared there was an agitation
on foot to reform the costliness and vain display at funerals. Punch,
both in his cartoons and his letterpress, was exceedingly bitter
against the undertakers.
The matter was so energetically taken up by the press and the
public, that funerals were soon shorn of their costly mummery, and
are now conducted on much more sensible and economical
principles than they were in 1850.
In reference to the disputed authority of the ode "Not a drum was
heard," the Rev. T. W. Carson, of Dublin, has kindly forwarded a
facsimile of the letter, (to which reference was made on page 105),
from the Rev. C. Wolfe to his friend Mr. John Taylor. It varies slightly
from the version already given, and seems conclusively to establish
Wolfe's title as author of the poem.
It runs thus:—

"I have completed the Burial of Sir John Moore, and will here
inflict it upon you; you have no one but yourself to blame, for
praising the two stanzas (?) that I told you so much;—
(Here follows the poem.)
"Pray write soon—you may direct as usual to College, and it will
follow me to the country. Give my love to Armstrong, and
believe me, my dear John, ever yours,
(Signed) CHARLES WOLFE."

This is addressed—
 "JOHN TAYLOR, ESQ.,
At the Rev. Mr. Armstrong's,
Clonoulty,
Cashel."

Date of postmark, Se, 6, 1816.

The handwriting is small, neat, and clear, and there is only one slight
verbal correction, which occurs in the last verse; in verses 3 and 4 a
few end words have been torn off by the seal.
There is a postscript, as it has no reference, however, to the poem, it
is needless to reprint it.
———♦———
 Thomas Hood.
1798—MAY 3, 1845.
In Hood's poems a rare blending is found of wit, fancy, humour and
pathos; and as his personal character was amiable, gentle and good,
his memory is cherished by Englishmen with peculiar affection and
respect.
Thomas Hood was born in London, and was the son of a member of
the then well-known firm of booksellers, Vernor, Hood, and Sharp.
Hood was intended for an engraver, and although he soon deserted
that profession, he acquired a sufficient knowledge of it to enable
him to illustrate his own works, which he did in a quaintly comical
manner. His sketches, though generally crude and inartistic,
admirably explain his meaning, and never certainly did puns find
such a prolific, and humourous, pictorial exponent as Hood.
Hood's eldest son (Thomas Hood the younger) was also the author
of several novels and some humourous poetry. He was for many
years editor of Fun.
Of Hood's poems the four most usually selected for parody and
imitation are, The Song of the Shirt; The Bridge of Sighs; The Dream
of Eugene Aram; and a pretty little piece entitled I remember, I
remember.
It is a somewhat curious fact that one of the most earnest and
pathetic of Hood's poems should first have appeared in Punch. The
Song of the Shirt will be found on page 260 of vol. 5, 1843, of that
journal.
This dirge of misery awoke universal pity for the poor victims of the
slop-sellers and ready-made clothiers; but like most of the
spasmodic outbursts of British rage and indignation little permanent
good resulted from it. The machinists, and unattached out-door
employés of the London tailors, are probably worse off now than
ever they were in Hood's time.
As might have been expected from the wonderful popularity of The
Song of the Shirt and its peculiarly catching rhythm, it has been the
subject of almost innumerable parodies, and has also served as the
model for many imitations of a serious nature.

TRIALS AND TROUBLES OF A TOURIST.

In clothes, both muddy and wet,
Without hat—left on the fell;
A pedestrian sought, with a tottering gait,
Refreshment at this hotel.
He'd walked a long and weary way,
O'er mountain-top and moor;
And thus he mused, mid'st wind and rain,
As he approached the door.

"I walk! walk! walk!

First climbing hills, and then down
Where the people are not to be seen,
Many miles from village or town.
Oh! haven't I been a dupe,
Pedestrian pleasure to seek,
When so quiet I might have stayed
At Redcar all the week."

"I walk! walk! walk!

With my boots fast breaking up,
And walk! walk! walk!
Without either bite or sup.
Oh! that again I was at home,
To feel as I used to feel,
And not as now, in hunger and thirst,
With a doubly-blistered heel."

"I walk! walk! walk!

Up to the knee in bog,
And loudly call, 'Lost! Lost!'
Surrounded by clouds and fog.
I walk! walk! walk!
Till my head begins to spin;
Oh! that I ne'er had scrambled out
The stream I tumbled in."
"I walk! walk! walk!
With cheeks all swollen and red;
A nasty aching within my ears,
Rheumatics in my head.
I walk! walk! walk!
In trousers tattered and torn!
With every thread from foot to head
Quite soaked since early morn."

"The day is fast wearing out,

And so are my boots and I;
The sleet blows in my face,
As with the breeze I sigh.
Although white fog I'm in,
Yet 'tis a dark look out
For one who hither has come for a change,
And cannot change a clout."

"I walk! walk! walk!

And nothing can find to see;
While water and mud from out my boots
Is squirting up to each knee.
Talk of scenery! Bah! it's all stuff,
But the waterfall, I admit,
Is good, for it's running down my back,
And I've no dry place to sit."

"I walk! walk! walk!

With my throat quite parched and dry;
No spirit to rouse my spirits up;
With pulse quite fevered and high.
I've a dropsy got outside,
Whilst inside there's a drought;
Oh! for a good warm draught within,
As a check to the draught without."

"Walk! walk! walk!

 Walk! walk! walk!
I'll never come here again:
My holiday shall be spent elsewhere,
Free from fatigue and pain.
Or I'll stay at home with my wife,
Where a dry shirt I can wear;"—
And worn out with misfortune's strife,
And almost weary of his life,
He sank in the old arm chair.

JOHN REED APPLETON, F.S.A.

THE SONG OF THE SPURT.

WITH hands all blistered and worn,
With eyes excited and red,
A boating man sat, in jersey and bags,
Awaiting the signal with dread.
Tug! tug! tug!
Every bone in his body is hurt;
And still, with a sigh and a dolorous shrug,
He sang the "Song of the Spurt!"

"Work! work! work!

Till I shiver in every limb;
Work! work! work!
Till the eyes begin to swim
Steam, bucket, and pant,
Pant, bucket, and steam,
Till over the oar I almost faint,
And row along in a dream."

"O, men, with sisters dear,

O, men, with pretty cousins,
I must mind and keep my form for the end—
They'll be there on the barge by dozens!
Pull! pull! pull!
What is poverty, hunger, or dirt,
Compared with the more than double dread
Of catching a crab in the spurt!"

With eyes excited and red,

With good hope of victory fired,
He was rowing along in his jersey and bags,
But feeling uncommonly tired!
Pull! pull! pull!
He began his full powers to exert;
Soon his boat would have been at the head of the river,
But when just at the barge—an unfortunate shiver
Made him catch a crab in the spurt!
 Made him catch a crab in the spurt!

REMEX MORIBUNDUS.

College Rhymes (T. and G. Shrimpton), Oxford, 1865.

THE DRIPPING SHEET.

"This sheet, wrung out of cold or tepid water, is thrown around the
body. Quick rubbing follows, succeeded by the same operation with
a dry sheet. Its operation is truly shocking. Dress after to prevent
remarks."

SONG OF THE SHEET.

(After Hood.)
With nerves all shattered and worn,
With shouts terrific and loud,
A patient stood in a cold wet sheet—
A Grindrod's patent shroud.
Wet, wet, wet,
In douche, and spray, and sleet,
And still, with a voice I shall never forget,
He sang the song of the sheet.

"Drip, drip, drip,

Dashing, and splashing, and dipping;
And drip, drip, drip,
Till your fat all melts to dripping.
It's oh, for dry deserts afar,
Or let me rather endure
Curing with salt in a family jar,
If this is the water cure.

"Rub, rub, rub,

He'll rub away life and limb;
Rub, rub, rub,
It seems to be fun for him.
Sheeted from head to foot,
I'd rather be covered with dirt;
I'll give you the sheet and the blankets to boot,
If you'll only give me my shirt.

"Oh men, with arms and hands;

Oh men, with legs and shins;
It is not the sheet you're wearing out,
But human creatures' skins.
Rub, rub, rub,
Body, and legs, and feet,
Rubbing at once with a double rub,
A skin as well as a sheet.
"My wife will see me no more—
She'll see the bone of her bone
But never will see the flesh of her flesh,
For I'll have no flesh of my own:
The little that was my own,
They won't allow me to keep,
It's a pity that flesh should be so dear,
And water so very cheap.

"Pack, pack, pack,

Whenever your spirit flags,
You're doomed by hydropathic laws
To be packed in cold wet rags:
Rolled up on bed or on floor—
Or sweated to death in a chair;
But my chairman's rank—my shadow I'd thank
For taking my place in there.

"Slop, slop, slop,

Never a moment of time,
Slop, slop, slop,
Slackened like masons' lime;
Stand and freeze or steam—
Steam or freeze and stand;
I wish those friends had their tongues benumbed,
That told me to leave dry land.

"Up, up, up,

In the morn before daylight,
The bathman cries, "Get up,"
(I wish he were up for a fight).
While underneath the eaves,
The dry, snug swallows cling,
But give them a cold wet sheet to their backs,
And see if they'll come next spring.

"Oh! oh! it stops my breath

 Oh! oh! it stops my breath,
(He calls it short and sweet),
Could they hear me underneath,
I'll shout them from the street!
He says that in half an hour
A different man I'll feel
That I'll jump half over the moon and want
To walk into a meal.

* * * *

"I feel more nerve and power,

And less of terror and grief;
I'm thinking now of love and hope—
And now of mutton and beef.
This glorious scene will rouse my heart,
Oh, who would lie in bed?
I cannot stop, but jump and hop;
Going like needle and thread."

With buoyant spirit upborne,

With cheeks both healthy and red;
The same man ran up the Malvern Crags,
Pitying those in bed.
Trip, trip, trip,
Oh, life with health is sweet;
And still in a voice both strong and quick,
Would that its tones could reach the sick,
He sang the Song of the Sheet.

From Health and Pleasure, or Malvern Punch. By J. B. Oddfish, Esq.,

M.P., L.L.D. (Malvern Patient, Doctor of Laughs and Liquids).
Simpkin, Marshall and Co., London, 1865.
 THE SONG OF THE STREET.
(To the memory of the good, the genial, the large-hearted Thomas
Hood, this humble imitation of his "Song of the Shirt" is inscribed by
the writer).
 I.
With lips all livid with cold,
And purple and swollen feet,
A woman, in rags, sat crouch'd on the flags,
Singing the Song of the Street!
"Starve! starve! starve!
Oh, God! 'tis a fearful night!
How the wind does blow the sleet and the snow!
Will it ever again be light?

II.
"I have rung at the 'Refuge' bell,
I have beat at the workhouse-door,
To be told again that I clamour in vain,
They are full—they can hold no more.
Starve! starve! starve!
Of the crowds that pass me by,
Some with pity, and some in pride,
But more with indifference turn aside,
And leave me here to die!

III.
"Oh! you that sleep in beds,
With coverlet, quilt, and sheet,
Oh think when it snows what it is for those
That lie in the open street:
That lie in the open street,
On the cold and frozen stones,
When the winter's blast, as it whistles past,
Bites into the very bones.

IV
 IV.
"Oh! what with the wind without,
And what with the cold within,
I own I have sought to drive away thought
With that curse of the tempted—gin.
Drink! drink! drink!
Amid ribaldry, gas, and glare.
If there's hell on earth,
'Tis the ghastly mirth
That maddens at midnight, there.

V.
"Oh you, that never have stray'd,
Because you have not been tried,
Oh look not down with a Pharisee's frown
On those that have swerv'd aside.
And you that hold the scales,
And you that glibly urge
That the only plan is the Prison van,
The Treadmill, or the Scourge.

VI.
"Oh, what are the lost to do?
To famish, and not to feel?
For days to go, and never to know
What it is to have one meal?
They cannot buy, they dare not beg,
They must either starve or steal.

"Food—food—food!
If it be but a loaf of bread,
And a place to lie—
And a place to die,
 p ,
If it be but a workhouse bed!
If you will not give to those that live,
You at least must bury the dead!"

VIII.
With lips all livid and blue,
And purple and swoll'n feet,
A woman, in rags, sat crouch'd on the flags,
And sang the Song of the Street.
As she ceased the doleful strain,
My homeward path I trod;
And the cry and the prayer,
Of that lost one there
Went up to the Throne of God.

W. H. B.

The Standard, February 16th, 1865.

THE SONG OF THE STUMP.

Stump—stump—stump—
Through market-place, pothouse, and dirt;
Stump—stump—stump—
With a greasy mob fast to his skirt;
Having changed his coat to secure their vote,
Mr. Gladstone now changes his shirt.
And if he but ends as he does begin,
There is little doubt he will change his skin,
On the stump—stump—stump.

Stump—stump—stump—
Through Ormskirk, St. Helen's and Newton,
Whilst after him shout a rabble rout
Of electors "Ain't he a cute 'un?"
Stump—stump—stump—
With the aid of rhetorical steam,
Till over his speeches we fall asleep,
And hear him stump in a dream;
Stump—stump—stump—
For ever upon our ear.
Alas! that principle's so cheap,
And office is so dear!
Stump—stump—stump.

The Tomahawk, November, 1868.

THE SONG OF THE FLIRT.

WITH bosom weary and worn,
With eyelids painted and red,
A lady, just from a Duchess's ball,
Sat on the side of her bed.
Her sapphires were gleaming and rich,
And faultless her lace and her skirt,
And yet with a voice of dolorous pitch,
She sang the "Song of the Flirt."

"Flirt, flirt, flirt!

When the lunch is scarcely begun!
Flirt, flirt, flirt!
Till the sickening supper is done
Ball and dinner, and rout,
Rout, and dinner, and ball,
Till I long for my bed to rest my head,
And in a wakeless slumber to fall."

"Flirt, flirt, flirt!

Till the room begins to swim;
Flirt, flirt, flirt,
Till the eyes are starting and dim:
Beam, and falsehood, and frown,
Frown, and falsehood, and beam,
Till over my lyings I fall asleep,
And flirt my fan in a dream!"

"Flirt, flirt, flirt!

My labour never ends;
And what are its wages? all true men's scorn,
And a dreary dearth of friends.
That shattered life—and this broken heart—
And yon smile that shrines a sneer;
And a house so blank, my cousin I thank
For sometimes calling here!"
 "Oh! but to scent the breath
Of an honest man on my brow—
To feel the throb of a worthy arm
Winding around me now;
For only one brief hour
To feel as the pure can feel,
To staunch with the power of hearty love
The wounds that refuse to heal!"

With bosom weary and worn,

With eyelids painted and red,
A woman, fresh from a great duke's ball,
Knelt by the side of her bed.
Her rubies were ruddy and rich,
And perfect her bodice and skirt—
She looked like a splendid and tigerly witch,
And yet with a voice of dolorous pitch
She sang the "Song of the Flirt."

F. C. W., Exeter College, Oxon.

College Rhymes (T. Shrimpton and Son), Oxford, 1872.

THE SONG OF THE WIRE.

With finger cunning and firm,
With one eye and a crooked back,
An old man, clad in an old pair of bags,
Was carving a profile in black.
Snip! snip! snip!
Cold, wet, or whatever the day,
And still, with a voice of a ludicrous crack,
He croaked the "Wirer's Lay."

"Wire! wire! wire!

While men to their lectures fly,
And wire! wire! wire!
Where the Turl runs into the High!
It's O, to be the Vice,
Or a Prince in his cap and gown,
It's O, to be able to pay the price
To be stuck round my hat's old crown.

"Wire! wire! wire!

Till the nose begins to be clear;
Wire! wire! wire!
Till the lips and the chin appear!
Hair and shoulder and brow,
Brow and shoulder and hair,
Till over the likeness I chuckle and wait
For a gent who's a moment to spare.

"O, men, with sisters dear!

O, men, with mothers to please!
It is not for them my portraits are bought,
But for dearer far than these!
Snip! snip! snip!
With a point as keen as a dart,
Carving at once a likeness to suit,
And a place in the loved one's heart.
"But why do I talk of her?
The fair one of unknown name,
I hardly think she could tell the face,
They all seem much the same—
They all seem much the same,
Because of the types I keep;
'Tis odd that faces should be so like,
And yet I work them so cheap!

"Wire! wire! wire!

My labour never flags;
And what are its wages? a copper or two,
Which I lose through the holes in my bags,
A nod of the head, or a passing joke,—
A laugh,—a freshman's stare,—
Or a gent so bland, when I ask him to stand
While I carve him his portrait there.

"Wire! wire! wire!

In the sound of S. Mary's chimes,
Wire! wire! wire!
As specials wire to the Times!
Hair, and shoulder, and brow,
Brow, and shoulder, and hair,
Till the trick is done, and I pocket the coin,
As I finish it off with care.

"Wire! wire! wire!

In the dull month of Novem-
ber—wire! wire! wire,
When Oxford is bright with Commem.
While under light parasols,
The pretty girls slily glance,
As if to show how nice they would look
If they'd only give me a chance.

"Oh! but to catch that face

 Oh! but to catch that face
Which health and beauty deck—
That hat posed on her head,
And the curl that falls on her neck;
For only a minute or two
To sketch as I could when I tried
To take off the Vice as he passed one day,
And the Prince in my hat by his side.

"Oh! but for a minute or two!

A moment which soon will have gone!
No blessed second for fair or brunette,
Nor even to copy a don!
A little sketching would bring some brass,
But in its musty case,
My scissors must lie, for I have but one eye
With which to look out for a face!"

With finger cunning and firm,

With one eye and a crooked back,
An old man clad in an old pair of bags,
Was carving a profile in black.
Snip! snip! snip!
Cold, wet, or whatever the day,
And, still with a voice of a ludicrous crack,
Would I could describe its cadaverous knack—
He croaked the "Wirer's Lay."

ARTHUR-A-BLAND.

This parody appeared in The Shotover Papers for May, 1874 (J.
Vincent, High Street, Oxford), it will certainly appeal more to old
Oxford men, from its allusions, than to the general reader.

THE SONG OF LOVE.

 WITH bosom weary and sad,
With eyelids heavy and red,
A maiden sat, in maidenly grace,
Thinking o'er pleasures dead.
Sigh! sigh! sigh!
In misery, sorrow, and tears,
She sang, in a voice of melody,
The plaintive song of her fears.

Love! love! love!

Whilst the birds are waking from rest;
And love! love! love!
Till the sun sinks in the west;
It's oh! to be in the grave,
Where hope's false dream is not,
Where doubts ne'er rise to bedim the eyes,
If this is woman's lot!

Here follow nine more verses in an equally plaintive style, and of no

particular interest.
From The Figaro, February 28, 1874.

THE SONG OF THE CRAM.

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